Khaled Hosseini

Khaled Hosseini
Khaled Hosseiniis an Afghan-born American novelist and physician. After graduating from college, he worked as a doctor in California, an occupation that he likened to "an arranged marriage". He has published three novels, most notably his 2003 debut The Kite Runner, all of which are at least partially set in Afghanistan and feature an Afghan as the protagonist. Following the success of The Kite Runner he retired from medicine to write full-time...
NationalityAfghani
ProfessionNovelist
Date of Birth4 March 1965
CityKabul, Afghanistan
American high school culture was impenetrable to me, and very cliquey: you had the Hispanics, the African Americans, the surfer guys and the goths and the immigrants. The jocks and the surfers got the girls. By the time I'd got to grips with it, I'd graduated.
I spent a lot of winters in my childhood flying kites with my brother, with my cousins, with friends in the neighborhood. It's what we did in the winter. Schools close down. There was not much to do.
I remember reading 'The Grapes of Wrath' in high school in 1983. My family had immigrated to the U.S. three years before, and I had spent the better part of the first two years learning English. John Steinbeck's book was the first book I read in English where I had an 'Aha!' moment, namely in the famed turtle chapter.
If the story had been about anyone else, it would been dismissed as laaf, that Afghan tendency to exaggerate ---sadly, almost a national affliction; if someone bragged that his son was a doctor, chances were the kid had once passed a biology test in high school.
I did see [in Afghanistan] plenty that reminded me of my childhood. I recognised my old neighbourhood, saw my old school, streets where I had played with my brother and cousins.
I entered the literary world, really, from outside. My entire background has been in sciences; I was a biology major in college, then went to medical school. I've never had any formal training in writing. So what I know about writing, I know from my own instincts, and whatever the narrative voice is in my own head.
Marriage can wait, education cannot.
Throughout the last century there were multiple attempts at giving Afghan women more autonomy, to change marriage laws, to abolish the practice of bride price and child marriage, and to enforce women to be involved in school. Every time, the reaction from the traditionalists was one of contempt and scorn and at times outright rebellion. I think the emancipation of women in Afghanistan has to come from inside, through Afghans themselves, gradually, over time.
For me as a writer, the story has always taken precedence over everything else. I have never sat down to write with broad, sweeping ideas in mind, and certainly never with a specific agenda.
Economic chasm between people is something that is of interest to me. And something that I used to write about even as a child. It's something I've revisited a few times in my writings.
A Western-style democracy in Afghanistan is a dream. I don't see that as a reality anytime soon. But I think some form of representative political process is not that far-fetched.
The difficulty of writing a second novel is directly proportional to how successful the first novel was, it seems.
It's a very nice kind of quasi-fame being a writer, because you remain largely anonymous and you can have a private life, which I really cherish. I don't like to be in the public light all that much. I don't crave the whole fame thing at all.
I lay no claim, it should be clear, to being a historian. So in my books, the intimate and personal have been intertwined inextricably with the broad and historical.